OBITUARY

Arthur Carrington, former child star who appeared twice with Bette Davis, dies at 76

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By Allan R. Ellenberger

Arthur Carrington, a one-time child actor who appeared twice with Bette Davis in That Certain Woman (1937) and The Corn is Green, died on Wednesday morning of bladder cancer.

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In the Bette Davis film, That Certain Woman (1937) co-starring Henry Fonda, Davis has a child who appears at two different ages over the course of the film. The elder child was played by Dwayne Day (his only film according to imdb), however Jackie Merrick as an infant was played by one year-old Arthur Carrington.

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Arthur Carrington is probably not a name that film historians can rattle off a bio for, however in his own small way, he contributed to film history.

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Carrington was born to Hiram and Pearl Carrington on April 20, 1936 in Willow Brook (near Compton), California. He began appearing in films through his cousin Dawn Bender, who, the same year he appeared in That Certain Woman, was cast as the infant daughter of Kay Francis in the Warner Bros. film, Confession (1937). Bender later appeared in small roles in such films as Till We Meet Again (1944), A Song to Remember (1945) and The Actress (1953). Her last film was the classic, Teenagers From Outer Space (1959). However, she is probably best known for her appearances on radio, specifically for the role of Margaret Barbour on the radio drama, One Man’s Family.

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Other family members also had bits in films. His sister Marilyn had a small role in the classic, The Grapes of Wrath (1940). Two other cousins, Bill and Carol Roush also appeared in films.

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One year-old Arthur Carrington with Bette Davis in That Certain Woman (1937)

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Carrington received the role as the infant Jackie Merrick in That Certain Woman when a casting call went out and he was placed in a line-up with several other babies. Director Edmund Goulding, walking back and forth, finally proclaimed him as the “most beautiful” of the bunch and a career was born.

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Of course Carrington remembered nothing about the film or of Bette Davis. However, his mother told him that Davis came to her and asked if she would consider letting her adopt Arthur. Mrs. Carrington, who politely turned her down, felt that Davis evidently fell in love with Arthur and thought the family was poor and could use the money. That wasn’t the case.

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There were some films he appeared in that he remembers nothing about. There are memories of meeting the Lone Ranger and getting to hold his gun. At some point he must have appeared in a Randolph Scott film because his mother had some harsh words about the actor. “She said that Randolph Scott was the biggest idiot and never knew his lines,” Carrington recalled. He didn’t know why she felt so strongly.

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A year following his stint in That Certain Woman, Carrington was set to appear in a Clark Gable film – presumably Test Pilot (1938) with Myrna Loy. Gable wanted to make sure that Arthur would feel comfortable and carried him around the set and showed him the planes. Little Art clearly embarrassed his mother at one point when the two year-old complained about Gables bad breath.

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Regardless, things didn’t quite work out when Arthur came down with Scarlet Fever and the set had to be shut down until it was determined the illness did not spread. Carrington recovered but lost the part.

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Carrington was unimpressed with his film appearances as a child. When asked about it, he remembered very little until his memory was jogged and then would get some nuggets. His mother Pearl, who died in 1998, had all the stories. “My mother was the one you should have talked to,” Carrington said. “She was very much a people person and enjoyed meeting all the actors that I worked with.”

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He recalled that his mother was not a typical “stage mother” and never pushed him to do anything. This point was proven when he appeared in one of his last films, The Corn is Green (1945), once again with Bette Davis. As an eight year-old playing one of the many students, director Irving Rapper wanted to give Arthur a line.

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So his mother took him aside and asked: “Do you think you’d like to say a line?”

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“No, I don’t think I would,” Arthur replied. So that was the end of it. He said a ‘stage mother’ would have went berserk.

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Summing up his career Carrington said: “Working as a child in films was a great opportunity if you had the talent. I just wasn’t that interested.”

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As a teenager, he sometimes tried to impress his friends with his former career. “I once told a buddy that I was in The Corn is Green with Bette Davis,” Carrington recalled. “Evidently he didn’t believe me or wasn’t that impressed because he just rolled his eyes and said, ‘Yeah the corn sure is green.’”

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Art Carrington with his wife Willeta and their dog Shotsie

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Carrington worked as a Long Beach postal worker and in his retirement, spent much of his time traveling across the country with his wife, visiting celebrity graves. Carrington is survived by his wife Willeta, his two children, Debra and Arthur, Jr. and two grandchildren.

BOOKS – NEW

Clark Gable, in Pictures:

Candid Images of the Actor’s Life

By Chrystopher J. Spicer

About the BookFrom the very beginning of Clark Gable’s screen career, the life of the glamorous film star came under the scrutiny of the camera. While audiences are familiar with the public Gable as seen through the studio lens, the private Gable as seen in photos taken by members of the public, friends, and family is much less known.

This collection of candid photographs, many of them published here for the first time, has been compiled by biographer Chrystopher J. Spicer from his archives and from sources around the world. As with Spicer’s acclaimed centenary biography Clark Gable (McFarland, 2002), this volume provides rare insight into the life of the man behind the star.

REVIEW

“These distinctively personal images are themselves informative, and Spicer provides a richly detailed narrative to accompany them. Delving into each major area of Gables’s life…Spicer presents an impressive amount of information…this is a thoroughly researched work with great visual appeal that illuminates some of the less emphasized aspects of Gable’s life. Spicer’s empathetic and comprehensive portrait will certainly resonate with Gable fans as well as film historians and enthusiasts and will find a permanent place in both popular and special collections”–Library Journal.

About the AuthorChrystopher J. Spicer has written extensively about Australian and American film and history. He teaches writing and communication at James Cook University in Queensland, Australia.

CELEBRITY NEWS

Girlfriend of Clark Gable’s son found dead in Malibu

(John Clark Gable)

Reuters

LOS ANGELES (Reuters) – Authorities on Thursday were investigating the death of the girlfriend of Clark Gable’s son after she was found dead one day earlier in the Malibu, California home the couple shared.

The Los Angeles County Coroner’s office said no foul play was suspected in the death Christiane Candice Lange, 41.

Officials said John Clark Gable, the son of the “Gone With the Wind” screen legend Clark Gable, was unable to rouse Lange after she had complained of feeling unwell the night before and going to sleep. According to her website, Lange worked as a make-up artist and hair extension specialist.

An autopsy will be carried out but coroner’s officials said she may have died of natural causes or from prescription drugs. Police are also investigating.

John Clark Gable, is the only son of the film star, and he was born to Gable’s fifth wife, Kay Williams, shortly after the actor’s death in 1960.

Gable, an off-road car racer, had some small acting roles in the 1990s but keeps a low-profile in Hollywood.

OBITUARY

Judy Lewis dies at 76; daughter of stars Loretta Young and Clark Gable

A psychotherapist and actress, Judy Lewis wrote tenderly about her only meeting with Gable at age 15. Young, an unmarried, staunch Catholic, faked an adoption of Lewis, who did not learn the truth about her parentage until an adult.

By Elaine Woo

Los Angeles Times

December 1, 2011

Judy Lewis, a psychotherapist and former actress who wrote a book about her complicated heritage as the illegitimate daughter of Hollywood legends Loretta Young and Clark Gable, has died. She was 76.

Latest gift to womenkind dissected

By Harry Carr

Los Angeles Times

August 2, 1931

Have the movies found in Clark Gable another Valentino? Every time Gable appears on the screen, an electric shock runs through all the female hearts for miles around. Women are mad about him.

His fan mail looks—for bulk—like the letters to the A.E.F. in France. Letters passionate, adoring, swimming with emotion. But he will never be another Rudolph Valentino.

Valentino had something that Gable hasn’t. No other actor had ever appeared who had what Valentino had. It is a quality hard to describe.

Had he been a woman, I should have said that he stood for the universal Earth-Mother. He was the most fascinating of all characters—the primitive man with a veneer of top hats and shining shirts.

Valentino was more primitive in his heart than our old roughneck friend Bull Montana. He was graceful, charming, finished in his manners—yet he was absolutely primitive. He was the mating call.

He was the warm earth opening its heart to the sun in springtime. He was the cave man dressed up. His instincts were those of childhood.

I remember sitting one night with Mrs. Valentino in their home on Whitley Heights. It was a wild revel of artistic direction—floors of black marble with scarlet cushions on a divan that belonged in the last days of the Imperial Rome. We were looking at Rudy who sat across the room. He was talking to Gloria Swanson. He was graceful, winning—charming.

“Just a primitive child,” said Mrs. Valentino, with half-cynical amusement. “What he would like to be doing is repairing a carburetor on an automobile—or playing with his tallan bulldogs. Do you see the point? And did she?

He liked to touch power. He liked to feel that he could control the great finished engine of steel; he liked to fee the giant strength of those fierce beasts. He liked to realize that they loved him; that he could wrestle and rough-house and punish them, but that they would tear anyone else to bleeding shreds.

Just so he liked to wrestle, to ride Arab stallions. He liked the fierce sun of the desert; the last of the storm.

Rudy had a romantic swagger—a flaming color—an appeal that made women fight like tigers for places on the sidewalk when he passed because they felt instinctively that in his heart he was the age-old call of the man to the woman.

Rudolph was the adored lover of all womankind, yet he was not what you would call a ladies man. He had very few sweethearts—a fact of which he sometimes complained in a most plaintive manner. The truth is, Rudolph was not very interesting to most women when they came to actually meet him. Men, on the other hand, bitterly resented him until they got to know him. Then they liked him.

There ws something honest and appealing in Valentino’s struggle that appealed to men. Even in the greatest days he was always a well-meaning guy having a tough time. Sensitive, bruised, misunderstood, Valentino sorrowed over the fact that men resented his hold over women. He resented the resentment of boys who didn’t like when their girl friends sat with a mysterious light in their glowing eyes, and a transfixed expression of surrender to the dashing young man on the screen.

Gable is a dashing fellow. But he will never be the overwhelming lady-charmer that Valentino was. He knows too well what it is all about.

Valentino didn’t. He was always a mystery to himself. Women adored the little-boy hidden in Rudy. Gable is strictly grown-up. He lacks the appealing innocence of Valentino. There is nothing in him that cries out for help to a female heart. And Valentino cried out.

In soul essence, he was the child hero Romulus—waiting to achieve might deeds—to found Rome—to rear nations—to rack out a new world—but temporarily very much in need of a mother.

Fans of the 1939 film The Wizard of Oz will celebrate the dedication of a full size bronze memorial sculpture of Toto, Dorothy’s beloved dog on Saturday, June 18 at 11 a.m. at Hollywood Forever Cemetery, 6000 Santa Monica Blvd. To commemorate the event, following is a biography of Toto.

By Allan R. Ellenberger

The most indulged of all the spoiled lovelies of Hollywood during the Golden Age were the canine actors who worked in films. They had their own hotel—The Hollywood Dog Training School—where at one time, seventy-five of the best known dogs of the screen lived in tranquil comfort.

The school was set on a pleasant ten-acre site, covered with oaks and willows, near Laurel Canyon Boulevard five miles north of Hollywood. Three hundred feet back from the road stood a cream colored frame house and back of it were two kennels, each 150 feet long. It featured southern exposure, long runs to each kennel, a large grass playground, showers in each section, and several porcelain bathtubs with hot and cold water, an electric drier and a special kitchen where, every day, a tempting cauldron full of vegetable and beef bone soup was cooked for dinners of the distinguished boarders.

Carl Spitz with dogs from his training school

The dogs, like all other actors, employed a manager—the amiable Carl Spitz—who drove as hard a bargain for his clients as any other agent in Hollywood. The German-born Spitz first took up the work of schooling dogs in Heidelberg where his father and grandfather were dog trainers. Spitz trained dogs for military and police service in World War days. He saw Red Cross dogs search for dying men in no man’s land—and he devoted his life to educating man’s best friend.

Leaving Germany, Spitz arrived in New York in 1926, moved briefly to Chicago and soon found himself in Los Angeles, where, the following year he opened his first dog training school at 12239 Ventura Boulevard. Sometime around 1935 he moved the facilities one mile north to a ten-acre spot at 12350 Riverside Drive, where he remained for almost twenty years. “This is a school, where dogs go to classes just like children,” Spitz said. “We have grammar school, high school and college.

Above is the location of Carl Spitz’s first dog training school at 12239 Ventura Blvd., Studio City, CA

Advertisement for Spitz’s school at his new location on Riverside Drive

At first his services were for the public but soon the movies came calling. The transition to sound films required Spitz to drop his verbal commands and develop a series of soundless visual hand signals.

His first sound film was Big Boy (1930) starring Al Jolson in which he trained two Great Danes. This one was followed by the John Barrymore classic, Moby Dick (1930). It was too expensive for studios to create their own specially trained dogs so Spitz suddenly found himself in big demand.

Canine stars soon began to emerge such as Prince Carl, the Great Dane appearing in Wuthering Heights (1939). The first big dog star to appear from Spitz’s stable was Buck the Saint Bernard who co-starred with Clark Gable and Loretta Young in Call of the Wild (1935). Others included Musty (Swiss Family Robinson), Mr. Binkie (The Lights that Failed) and Promise (The Biscuit Eater). However, probably the best known dog star to emerge from the Spitz kennel that is known today is arguably Toto from The Wizard of Oz (1939).

Clark Gable with Buck in Call of the Wild (1935)

Toto, a purebred Cairn Terrier, was born in 1933 in Alta Dena, California. She soon was taken in by a married couple without children in nearby Pasadena—they named her Terry. It soon became apparent that Terry had a problem with wetting the rug, and her new owners had very little patience with her. It wasn’t long before they sought the services of Carl Spitz’s dog training school in the nearby San Fernando Valley. Spitz put her through the usual training and in a few weeks she was no longer watering the carpet.

However, by the time her training was completed, Terry’s owners were late on the kennel board. Spitz attempted to contact them but their telephone had been disconnected. With nothing else to do, Carl’s wife suggested that they keep her.

Terry sort of became the family pet until one day Clark Gable and Hedda Hopper stopped by the kennel for some publicity on Gable’s new film, Call of the Wild. One of Carl’s dogs, Buck the St. Bernard, had a large role in the film and Hedda wanted some photos of him with Gable. That day Terry made himself known to the Hollywood people and Carl took note and the next day took her to Fox Studios to audition for a part in the new Shirley Temple film, Bright Eyes (1934).

Jane Withers and Shirley Temple with Terry in Bright Eyes (1934)

Spitz put her through her paces—playing dead, leaping over a leash, barking on command—for the executives and was then presented to Shirley for the final say. Terry was placed next to a Pomeranian named Ching-Ching, who wasn’t part of the film but was Shirley’s own dog. Terry stood there for a moment, while Ching-Ching looked at her. Finally Terry rolled over, was sniffed and both dogs began running around Shirley’s dressing room. At last, Shirley picked up Terry and handed her to Spitz, grabbed her dog and skipped to the door. “She’s hired,” Shirley giggled as she left the room. Bright Eyes, which co-starred Jane Withers, would be Terry’s first film.

That same year Terry made another film, Ready for Love (1934) at Paramount. Next she appeared in The Dark Angel (1935) with Fredric March and Merle Oberon. Other films followed including Fury (1936) with Spencer Tracy; The Buccaneer (1938) for director Cecil B. DeMille and an uncredited part in Stablemates (1938) with Wallace Beery and Mickey Rooney.

Franciska Gaal with Terry in Cecil B. DeMille’s The Buccaneer (1938)

One day it was announced that MGM was going to produce L. Frank Baum’s children classic, “The Wizard of Oz.” Spitz knew that Terry was a mirror-image for Dorothy’s dog, Toto based on sketches throughout the book. So he began teaching her all the tricks from the book, and sure enough, in two months, he received a call from MGM for an audition.

Spitz and Terry met with the producer, Mervyn LeRoy who had been inspecting an average of 100 dogs daily for the past week. “Here’s your dog, all up in the part,” Spitz said to LeRoy when he submitted Terry for scrutiny. Terry could already fight, chase a witch, sit up, speak, catch an apple thrown from a tree, and took an immediate liking to Judy Garland. Frank Morgan, Ray Bolger, Bert Lahr, Jack Haley and the rest of the cast were accepted on first acquaintance with the dog. On November 1, 1938, Terry won the role of Toto without a test.

Judy Garland singing “Over the Rainbow” to Toto in The Wizard of Oz (1939)

Terry received a weekly salary of $125, which was more than the studio paid the Munchkins. Before filming began, Terry spent two weeks living with Judy Garland, who fell in love with her and tried to buy her from Spitz. Of course he refused. Judy’s daughter, Lorna Luft, once said that her mother told them that the dog had the worst breath in the world. “It all made us laugh,” Luft said, “because the dog was constantly put in her face [with its] silly panting, and she did everything but wince because poor little Toto needed an Altoid.”

Terry did everything required of her, although she hesitated at being put in a basket and standing in front of the giant wind fans, simulating a tornado. One day they were filming on the Witches Castle set with dozens of costumed “Winkies” when one of them stepped on Terry’s paw. When she squealed everyone came running including Judy who called the front office and told them that Terry needed a rest. Until Terry returned a few days later, they utilized a stand-in for her.

The remainder of filming went smoothly for Terry and even though she appeared in approximately fifteen films, The Wizard of Oz was ultimately her best known. When the film was released, Terry appeared along with the cast at the premiere held at Grauman’s Chinese Theater. She became so famous that her paw print brought top prices among autograph seekers. Soon she began making public appearances and became so popular, that Spitz officially changed her name to Toto.

Terry, now billed as Toto with Virginia Weidler in Bad Little Angel (1939)

That year was a busy one for Toto. Besides The Wizard of Oz, Toto also made a cameo appearance in MGM’s The Women (1939) starring Norma Shearer and Joan Crawford and had a larger role in Bad Little Angel with Virginia Weidler. The next few years had her appearing in Calling Philo Vance (1940), Twin Beds (1942), and Tortilla Flat (1942), again with Spencer Tracy and Hedy Lamarr and John Garfield. Her final film was George Washington Slept Here (1942) starring Jack Benny and Ann Sheridan. That year Toto retired to Spitz’s huge facility on Riverside Drive until she died sometime in 1944. Even though several of Spitz’s dogs were interred at the Camarillo Pet Cemetery in Ventura, he chose to bury Toto on the school property.

Carl Spitz continued to train dogs. In 1938, he wrote a handbook, “Training your Dog,” which contained a foreword by Clark Gable. As far back as 1930 Spitz tried to get the Army to let him train dogs for war use. But nothing came of it. Finally in the summer of 1941 they took him up, in a limited way. Spitz agreed to furnish the Army fifty trained sentry dogs—at no cost. He delivered six, had twelve more under training, and already spent $1500 of his own money in the process.

Spitz trained the first platoon of war dogs installed in the continental United States just prior to World War II. He was an expert advisor to the War Department in Washington DC and helped formulate the now famous K-9 Corps for both the US Army and Marine Corps. He became prominent nationally as a dog obedience judge at dog shows. Carl Spitz died on September 15, 1976 and is buried at Forest Lawn in Glendale.

Aerial view of the site of Spitz’s Hollywood Dog Training School on Riverside Drive. Toto was buried somewhere on this site.

Around 1958, the Ventura Freeway was being built through the San Fernando Valley and the route went through Spitz’s school, forcing him to relocate. Today the Hollywood Dog Training School is still in existence at 10805 Van Owen Street.

Sadly, not only did the freeway erase the school, but it also obliterated Toto’s grave.

It’s appropriate that Toto’s Memorial Marker is being installed at Hollywood Forever Cemetery this Saturday, June 18 at 11 a.m. Many of the people that worked with Toto are interred there including Victor Fleming, Harold Rosson (The Wizard of Oz, Tortilla Flat); Cecil B DeMille, Maude Fealy (The Buccaneer); Erville Anderson, Carl Stockdale, Franz Waxman (Fury); Arthur C. Miller (Bright Eyes); Sidney Franklin, Gregg Toldand (The Dark Angel); Ann Sheridan (George Washington Slept Here). She is in good company.

A TRIBUTE

Anita Page – You were meant for me

By Allan R. Ellenberger

Anita Page, the last great silent film star from Metro-Goldwyn-Mayer, would have celebrated her 100th birthday yesterday. Some argue whether she was a star, an actress or leading lady –to me she was all of the above and more. Anita was the first real actress that I had a chance to know personally.

Me and Anita at USC (Michael Schwibs photo)

SOME MEMORIES AND PHOTOS

I first met Anita Page in 1993 when I was researching my biography on Ramon Novarro, whom she costarred with in the 1929 film, The Flying Fleet. Her husband had passed away two years earlier, so to keep busy she came out of retirement and began appearing at film festivals and other functions.

At the time she was living in a retirement center in Burbank. Her good friend, actor Randal Malone, set up the interview. Anita was very sweet and accommodating to my questions. She had suffered a stroke after her husbands death which affected her short term memory. Her long-term memory was still intact, however she sometimes forgot that she had told a story and would repeat it. Other than being a little frail, that was the only noticeable evidence from her stroke.

Only once during the interview did she hesitate repeating information about Novarro. It was about his height. Evidently Novarro was not tall – probably about 5’8” – so he sometimes wore lifts in his shoes depending on his costar. Novarro wanted Anita to appear in the film with him, but the studio felt she was too tall and wanted to use Josephine Dunn instead.

Novarro told the executives, “I can always wear lifts in my shoes. Besides, I did a film with Joan Crawford and she’s as tall as Miss Page.” As we know Anita got the job, however, she thought the information about his height might be embarrassing so she asked that I turn off my tape recorder before she would tell the story – which of course I did.

I became friends with Anita and Randal that day and over the ensuing years was invited to their homes and to events where Anita was appearing. I also began interviewing her over a period of a year for a proposed book on her career. Whether it was at a noisy restaurant, her home or some other venue, I showed up with a tape recorder and we talked about early Hollywood. During that time she relayed stories about her films and the famous people she worked with and knew.

I completed a rough draft of what was to be the text for a coffee table book, but sadly it never came to fruition. I did, however, donate a copy of the unedited manuscript to the Margaret Herrick Library under the title, “Anita Page: You Were Meant For Me,” so future film historians will have access to her stories. The title is from the song by Nacio Herb Brown, her short-lived husband, who wrote it for Broadway Melody (1929) and dedicated it to her.

Anita with her parents (above), Maude and Marino Pomares. Mrs. Pomares died from cancer at her Manhattan Beach home in May 1943. A few years later her father remarried and he passed away in 1951. They are buried at Holy Cross Cemetery in Culver City. Anita also had a younger brother, Marino, Jr. who died in 1960 from a brain tumor. He was 36.

Anita was Clark Gable’s first leading lady in The Easiest Way (1931)

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Above is a Los Angeles Examiner photo announcing Anita’s first arrival in California on December 7, 1927. She was a protégé of Harry K. Thaw who brought her and another starlet, Susan Hughes to California to make films. While Thaw’s plans failed, Anita (who was known then as Anita Rivers) decided to stay in Hollywood and try to make it on her own. Thaw returned to New York, as did Susan Hughes, who gave up show business.

Anita and me sitting on the steps outside her first Hollywood apartment (Randal Malone photo)

When I first interviewed Anita, she talked about her first Hollywood apartment that she shared with her mother. It intrigued me so I went about trying to find it using the phone book. Sure enough, there was a listing for Mrs. Marino Pomares in the 1928 directory – 7566 ½ De Longpre Avenue. Randal and I took Anita to the address for a photo shoot. Unfortunately the tenants were not home so we didn’t get a chance to look inside.

When Sunset Boulevard, the Andrew Lloyd Webber musical came to Los Angeles, Anita received an invitation to attend. A real silent film actress meets a fictional silent film actress — what great publicity! Randal graciously asked me to attend along with his friend Michael Schwibs. The four of us had the best seats in the house – fourth row center – all compliments of the theatre. The play was breathtaking and the performances top rate. Afterward we went backstage to personally meet the star of production, Glenn Close who played Norma Desmond. Ms Close was still in costume and in character and had a brief conversation with Anita. It was a great experience and Ms Close kindly signed my program. What a night.

Reportedly, at one point, Anita received more fan mail than any other actor at MGM except for Garbo

CELEBRITY GRAVES

Clark Gable’s Tomb Vandalized By A Kiss

(NewsCore) – The tomb of silver screen star Clark Gable was vandalized by an adoring bandit who left her mark with lipstick — causing a repair team to be called to clean it, TMZ reported Sunday.

Gable, who is entombed in a mausoleum at the Forest Lawn Memorial Park in Glendale, Calif. — also the final resting place of Walt Disney, Michael Jackson and a host of other celebrities — is regularly sought after by female fans, and traces of lipstick are occasionally spotted by the actor’s son John Clark Gable.

Although most previous marks were easily wiped away, the latest one stubbornly stuck, forcing a “total overhaul” of the white marble monument by a repair team.

John Clark Gable also warned against letting Jackson fans into the mausoleum — claiming that if they came inside, their tributes could damage surrounding memorials, including his father’s.

He said he asked security to “keep an eye out” for the lipstick bandit’s return.